"Too Much 21st Century" features circular bass riffs, jerky guitar and David Bowie-esque vocals. I'm convinced that Peter Murphy sings "Too much shellfish!" at one point, but surely that can't be right. If this were a new band I'd be praising it, while acknowledging the debt the band has to Bauhaus. There are more Bowie/Iggy Pop thrills to be had during "Adrenalin". You're setting yourself up to fail with naming a song 'adrenalin' though. While it's more 'a faster-than-average plod' than a 'roller-coaster ride', it's no less fun for that. "Undone" borders on the discordant and choatic. Was this a result of the recording technique? Was it the intention that this song would always sound like this? There's some enjoyable 80s synth during the chorus, but I prefer to avoid the melee occurring elsewhere in this song. "International Bulletproof Talent" is more focused, with guitar riffs being fired over the verse. Murphy groans as only he can. "Endless Summer Of he Damned" sounds if it was recorded in one take, but that's not a criticism. It is a dirge, but Bauhaus nobody makes a dirge attractive like Bauhaus.

"Saved" takes things in a different direction, more redolent of Murphy's solo material, particularly 2002's Dust album. It's Murphy's vocal over swirling background noise for two and a half minutes, before there is a hint of tribal drums. A church bell echoes, and I wonder 'are the bats still in the belfry?' With some bands six and a half minutes of this would tire quickly, but I find myself lulled into a meditative state with relative ease. "Mirror Remains" is similarly languid, though is less sparse than the song that precedes it. Usually I prefer the faster songs, but with Bauhaus this languid pace works well. "Black Stone Heart" surprises and delights as Murphy gets a dose of the Roger Whittakers over an unexpected piano. There are also some floaty 80s-sounding synths, which add a touch of class to the griminess. "The Dog's A Vapour" is nightmare-ish journey through an underground sewer. It's a relief to get out. Things come to an end with a whimper, rather than a bang, with "Zikir" which is ambient noise. A dull monotone give a recital over malodorous sounds. It's prime b-side material, if such a concept still exists these days.

Having a band split following the recording of an album is never a vote of confidence. Whether the recording techniques used were a deliberate choice or a necessity due to circumstances these 'first takes' are for the most part successes. I approached this album with no expectations and was pleasantly surprised. If you are Bauhaus devotee then I can understand that you might not think this is a coda worthy of the band. I'm reminded of The Smiths' Strangeways, Here We Come which was released in similar circumstances. I believe the correct response to this sort of album is: OK, so it isn't the best album of the band's career, but an average album by the band we love is better than no new album at all. Sometimes it pays to be grateful for what we've been given.